Tag: Netflix

NOTE: I finally finished Stranger Things 2, and there are some light spoilers in this post. This warning is here in case you’re late to the party like me.

But like the saying goes: If you’re going to be late to the party, make sure you bring some good guacamole.

Spoilers beyond this point.

At the end of Stranger Things 2, the main characters get to take a brief victory lap at the school’s Snow Ball dance. There’s one dance floor pairing that stands out: Nancy and Dustin.

There’s plenty that could be said about the relationship between Nancy and Steve, and how Dustin is now trying to emulate Steve, but I’m not interested in that aspect. ¯_(ツ)_/¯

Instead, let’s look at two moments, one from season 1, and one from moments before this dance, and what connects them.

So much of Stranger Things 2 is about the past bleeding into the present, worming its way back and refusing to be forgotten.

Nancy starts out Stranger Things 2 dealing with the guilt of Barb’s death. It creeps up on her at odd times. She can’t escape Barb’s memory.

Nancy sent Barb away so she could be alone with Steve, leaving Barb vulnerable to an attack from the Demogorgon.

Nancy could have no idea she was sending Barb to her death, but she carries the weight of being one of the few people in Hawkins who know the full story. Her knowledge and guilt separate her from most of the rest of the town, leaving her conflicted and angry.

But let’s go back further, to before Nancy knew definitively what happened to Barb. Back in season one, Nancy caught a glimpse of the last moment anyone saw Barb before she was pulled into the Upside Down.

Through Jonathan’s pictures, Nancy sees Barb’s sadness and isolation. This was Nancy’s fault. Nancy brought Barb to a place she didn’t want to go, then ditched her to canoodle with Jean-Ralphio’s dad. (This is canon.)

The memory of this image matches up with what Nancy sees when she looks at Dustin after he’s been rejected by the girls at the dance.

Yes, when she brings Dustin on to the dance floor, she’s trying to make him feel better. She knows what they’ve all been through (twice now). But this is just as much about her trying to deal with her guilt over Barb.

Seeing another friend having that same moment of isolation, she chooses to reach out instead pushing them away.

And the show, using the positioning of the actors and framing within the camera, as well as Nancy’s gaze, tells us these moments are all connected.

There’s no Justice for Barb. Not really. And Nancy can’t directly make reparations for the harm she’s caused others through her indifference to her friend.

The show deals with trauma as an absence. A lack. Like a missing puzzle piece that keeps you from seeing the whole image.

But there’s no bringing Barb back. No finding the missing piece. The best that Nancy can hope for is a substitution.

What Nancy wanted, at the start of the season, was a way to make amends for letting Barb go of alone and get killed by the Demogorgon. What she needed was to learn to have more honest connections with the people around her. To bring people in instead of pushing everyone away.

And it doesn’t just go for Nancy. The whole cast of characters, from Eleven, to Joyce, to Hopper, are all cobbling together a new whole, pooling together the pieces they each have left.

A closer look at a supporting player in GLOW

The Netflix cast and production team of the series GLOW have created some layered, dimensional characters with efficiency and humor. The show’s deep bench gives every cast member at least one moment in the spotlight over the first season’s ten episodes.

For the moment, I want to single out Bash, played by Chris Lowell.

Why Bash?

Is it missing the point when talking about a show focused on women’s wrestling with so many standout female performances to turn my attention to one of the male leads?

Maybe. But this isn’t just about him.

In fact, that’s the point I want to make about Bash’s character: This story isn’t about him.

He says that Gorgeous Ladies Of Wrestling is his idea, and he maintains that he wants to make sure the execution matches his initial premise.

With the plot elements involved, this could easily have been Bash’s story: The highs and lows of a trust-fund goofball who finds purpose by putting aside his selfish antics and maturing as he builds a tv show.

But that’s not this show’s story.

Bash is a supporting member of the cast, not only by the entertainment awards definition, but in how supportive he is of the other characters.

Like Max in Fury Road or Steve Trevor in Wonder Woman, Bash is an example of how to depict a man being supportive of a woman or group of women. He’s another reminder that gender dynamics in storytelling aren’t a zero sum game.

The Heel-Face Turn

When we first meet Sebastian “Bash” Howard, he’s doing all the things that would lead us to believe he’s going to be an antagonist or obstacle in the vein of a classic 80s villain.

He showed up in a helicopter, suggesting he’s totally out of touch with the other characters who are desperate for work.

He’s telling a personal anecdote about Ronald Reagan, further aligning himself with conservative, monied interests in a series focusing on a diverse group of underdogs.

He interrupts his introduction to ask that he be called by a nickname that he probably gave to himself.

He cancels rehearsal to invite everyone to a party at his mansion, which features an actual Lichtenstein and a working robot with a secret drug compartment.

It’s a clever ploy to play off of the audience’s expectations based on both Bash’s behavior and our genre savvy. This makes his sudden turn that much more satisfying.

What Bash Does for the Athletes

At the rehearsal, Bash listened to the women read through a script written by the director, Sam Sylvia, that featured a post-apocalyptic setting and roving gangs of women fighting for the right to breed with the last surviving man on Earth. The read-through goes unenthusiastically as the performers grapple with a thin sci-fi narrative held together by Sam’s sexual fantasies.

Bash confronts Sam about this, saying that when he asked for a different kind of wrestling show, this isn’t what he had in mind:

Bash invites the women up to his costume room and tells them to explore it and try things on.

Bash is inviting these women to take an active role in the construction of the narrative they’re going to play out. He talks about Sam’s script being too complicated, and he wants to see something still heightened and fantastic, but grounded in some aspect of the women themselves.

Let me be clear: Bash is not doing this just because he has a desire to empower these athletes. His suggestions involve leveraging regressive stereotypes that he justifies by saying that they need to play to the viewpoint of the audience.

Bash wants to make sure you know what eyes are.

Ethnicities are shifted or amalgamated. Tammé, whose son goes to Stanford, gets re-christened as Welfare Queen. Everything is done to better label these women according to a generalized white, male gaze instead of Sam’s hyper-sexualized, exploitation film mindset.

And this is where it gets more complicated.

Early in this sequence of scenes, Bash starts speaking with Carmen, who will eventually take on the character Machu Picchu. Sam has cast her as the villainous Ogress, but Bash takes one look at her and sees her smile. He knows she’s not right to play a heel, and helps her find an identity more suited to who she really is.

And while so many of these wrestling aliases are created based on stereotypes, that initial spark kindles something in the women. A “So this is how you see me?” anger helps them find their enthusiasm for the entire project. It unlocks and directs a layer of rage and creativity.

Going off of this setup, one of the most memorable scenes of the entire season comes when Cherry and Tammé convince their tag team opponents to dress in Ku Klux Klan costumes. Cherry and Tammé are very aware of how their roles as Welfare Queen and Junk Chain have attached stereotypes that will play negatively to the audience. So they find a way to turn themselves into the heroes of the match.

They have a degree of control over the narrative, and they’re trying to leverage what they think the audience sees.

Aside from setting some key points about the world of wrestling and its expectations, Bash also has several direct interactions that support the wrestlers.

In working with Carmen throughout the season’s arc, he helps her to build her confidence and live up to the reputation her family’s wrestling dynasty.

Bash sits with Carmen in the parking lot while an EMT confirms that she’s had a panic attack after she runs from the ring at an early match. He recognizes how important this is to her, and wants to be supportive.

When she starts to feel the fear again at a match being taped live for the pilot of their tv show, one of the things that helps her find her strength is Bash, acting as the ringside announcer, turning her anxiety into part of her character.

And when she pulls through and wins her match, Bash is one of the primary focuses of the camera. His enthusiasm for her victory reminds us that he didn’t just invest money in this wrestling show, but that he truly wants to see these athletes succeed.

Speaking of money, at a key moment when Bash’s mother cuts him off, everything is in danger of falling apart. The team needs to find the money to secure a venue for their live taping of a pilot episode.

Bash finds a solution, but he can’t do it alone.

Bash brings the women to crash his mother’s fundraising event for Nancy Reagan’s Just Say No campaign. He pretends that they’re from an organization called Wrestlers Against Drugs, and interrupts his introductory toast of his mother to step aside and let the women tell improvised stories to the wealthy donors.

The key here is that Bash isn’t the one making the big speech to get the money and save the day. He’s offering these women the opportunity to succeed on their own merits. He creates space for them to succeed where he failed, and he trusts that they’re capable.

And the women do not disappoint, coming up with stories of drug addiction and salvation through wrestling so compelling that the donations pile up, and even Bash’s mom sees that her son has partnered with some amazing women.

What This Means to Bash

But Bash isn’t just some Yuppie Yoda, helping women find their inner power through the drama and athleticism of professional wrestling. He gets something out of all this, too.

There’s this one scene near the end, and it’s why I focused so much on Bash after this first viewing of the show.

As everything comes together at the last minute, Ruth tells Bash that he needs to act as their announcer for the live taping of their matches. Bash says he was born for this:

While everyone’s getting ready for their on-camera debut in the ring, Bash gets a quiet moment while he prepares.

Bash has spent a lot of time before this point helping other characters find strength and express themselves. We’re shown this one moment that shows him stepping in to character.

It’s a suggestion that Bash, too, feels that the spectacle allows him to re-craft his identity; to tap into something inside himself that normally stayed buried.

How To Show Support

GLOW is a show mainly populated by women, but unlike Sam’s script, there’s not a lack of men involved. Along with the recurring characters of Sam and Bash, several other men play a role in the story.

When characters are dimensional, treated with respect and dignity, and given solid, selfish motivations, there’s room for everyone.

Bash is an example of a well written ally. He’s imperfect, and his faults and mistakes provide conflict for the story. But his desire to help others comes from an expressed and understood need to fulfill his own goal.

That’s a key to strong supporting characters: They don’t know they’re a sidekick. Somehow their actions supporting the protagonist(s) should fulfill whatever desire drives them in the version of the story where they’re the lead.

The opening scene of the series features Ruth on an audition for the role of a secretary who interrupts her boss in the middle of a dramatic monologue to say his wife is on the phone. It’s making a point about the dearth of good roles available to women, and does so by highlighting an audition for a minor supporting character.

It highlights not only why Ruth and the other women of GLOW would latch on to the opportunity to take charge of their stories and shape this wrestling program to give themselves an opportunity to shine, and it also highlights what happens when writers create characters who act as punctuation.

Somebody has to come read for the role of the Nameless Interrupting Secretary. Somebody has to hope that they’ll get that three line part, because they’ve got rent to pay. Somebody spent years training themselves and honing their craft to prepare themselves to be on camera.

Does it honor that person’s effort to give them so little to do?

Does it show respect to the people who actually inhabit these positions in real life to depict them as functions of someone else’s story?

The story as a whole is richer from making sure every role feels lived in. Every person feels true, and not just a plot device.